Sorry to Bother You

Comedy movie "Sorry to Bother You" Torrent is rated with 7.3 points out of 10 on IMDb (Internet Movie Database) according to 2,714 ratings by critics. Film is directed in 2018 by Boots Riley and the main stars are Lakeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Kate Berlant. The length of the whole piece is 1 hour 45 minutes. Sorry to Bother You premiere date is July 13, 2018, before this date movie is not available for download with uTorrent.

Release date: 2018July 13

IMDb: 7.32,714 Votes

Genre: ComedyMovies

Movie synopsisIn an alternate present-day version of Oakland, telemarketer Cassius Green discovers a magical key to professional success, propelling him into a macabre universe.

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Full Movie Torrent Review

No TOP movie for today.

Oh, for a Lakeith Stanfield character, hapless and well-meaning, but cursed with a knack for stumbling into the dens of nefarious white dudes. Playing Cassius"Cash" Green in Sorry to Bother You, Boots Riley's ineffable, uncompromised debut feature film, Armie Hammer talks him into doing lines of cocaine that mutate him into an unlucky equine destined for a life of ceaseless work. Basically, if Stanfield is at a movie or on TV, expect dark shit to occur to him.

But Darius's traumatic misadventure on Atlanta is merely that: Misadventure, singular. Cassius' bad trip in Sorry to Bother You, however, comes out of nowhere and leads to a dystopian journey in which Cassius stares down the barbarous logic of citizenship. 1 moment, Cassius is cajoled into rapping in front of a gaggle of white folks eager to get an impromptu performance from the only black dude in Steve Lift's luxury house party. The next, he is blundering through an olive door and into a waking nightmare.

Sorry to Bother You is a 2018 American science fiction comedy film written and directed by Boots Riley, in his directorial debut. It stars Lakeith Stanfield, Tessa Thompson, Jermaine Fowler, Omari Hardwick, Terry Crews, Patton Oswalt, David Cross, Danny Glover, Steven Yeun, and Armie Hammer. Set in Oakland, California, the film follows a young African-American telemarketer who adopts a white accent in order to thrive at his job. Once he does, he rapidly gets swept up into a conspiracy and must choose between making money at the expense of humanity or joining with his activist friends to organize labor.

It is a tale as old as time: Lift, enamored of Cassius, invites him to his elegant wood-paneled workplace to make an offer he can't deny, and to do some blow. The twist's result is a 50,000 watt jolt to the brain that lasts for the remainder of the film and forces us to reconsider every preceding plot point for the sake of understanding and personal sanity. Grow's shindig is Sorry to Bother You's fundamental sequence, in which Riley shows us particulars of a world that is familiar, though literary; it is a vivid, madcap satire of corporate capitalism as well as the numerous layers of American racism, and in directly linking the two, it's painfully evident that to talk about them separately fails to understand the depth of either's problems. Of course"talking white" would propel Cassius to telemarketing's upper echelons. In this story arc you see the union between America's greatest pastimes: bottomless greed and casually ingrained bigotry.

Riley, frontman of the Oakland hip-hop group The Coup, is a career anti-capitalist activist, therefore it makes sense that this film would spring from this ideological framework. But the methods by which it brings home its anti-capitalist themes - using sci-fi horror elements to induce the remainder of the story after the jolt of this equisapien reveal wears off - feel fresh. Sorry to Bother You's strength lies in its capacity to keep the unexpected nature of its turns and twists; even when we reach the movie's final shot, we're still plagued with two pressing questions: How the hell did we get here? And what the hell did we just see?

To start answering that, we must return to the proposal Rise offers Cassius, which hinges on a substance named WorryFree. Lift's company/indentured servitude system has made a chemical compound that turns anyone who inhales it into beasts of burden. Lift needs Cassius to ingest that chemical himself and reside since the"equisapien Martin Luther King, Jr.," as Lift puts itfor five decades, in exchange for $100 million and the promise of a remedy for his transformation. He figures that Cassius - in Lift's eyes a loyal go-getter type - will be easy to control, and thus give him an inside man to keep WorryFree's equisapien workforce placated. Just a mundane American lifestyle of extravagant wealth, carried in willful ignorance of the horrors necessary to make that life possible.

In an alternate present-day version of Oakland, ads for a company called WorryFree offer a life free of the worry of paying bills and free food and lodging, but at the cost of a lifetime contract of working, a practice deemed legal and not equivalent to slavery. A radical group called "The Left Eye" oppose WorryFree and vandalize their advertisements and protest.

Lift is wrong, naturally. Cassius, having driven a wedge between himself and his coworkers, friends, and girlfriend Detroit, strives to bring WorryFree down by exposing their secrets to the planet, which has the unintended effect of creating their stock ; undeterred, he organizes with his former telemarketing cohorts, igniting a riot in the streets and almost spelling doom for protesters until the equisapiens arrive to save the day. All! Except that the coke Cassius did in Lift's office was not coke, but instead the chemical compound, and so the film ends with Cassius sprouting horse nostrils before Detroit's eyes. He does not take Lift's deception lying down, though, and hammering the gates of Lift's home, his fellow enraged equisapiens hoofing it behind him.

Until the second Lift explains to Cassius the procedure for turning individuals into literal perform horses, it isn't in the movie. This says the obvious, possibly, but if most movies throw curveballs, we can look back, follow the projectile's arc, and acknowledge that we did not see it coming because the filmmaker knows how to throw. Weird as this late-stage development may be, it harmonizes with the rest of Sorry to Bother You's ideas on corporate doublespeak made in support of profit. Lift spins the truth of his equisapien laborers as easily as breathing, a smile always on his head, knowing he can sell the lie to the American people because we let people like him lie all the damn time.

Which makes Lift's ultimate fate a stroke of welcome catharsis. But fun as it would be to view Lift get his ass stomped by a mob of pissed off horsemen, Riley cuts , leaving us bewildered but energized from what we've seen. You'll need time to pass ahead of the movie's oddities and grotesqueries fully sink in. Riley concocts such strange alchemies and distillations of America under the heel of capitalist greed that connecting the dots between the movie's first and second chunks proves an exhausting surrealist challenge. But Sorry to Bother You goes full gonzo in service of its own rallying cry contrary to capitalism, and that bewilderment is the movie's great joy.